James Shirley
James Shirley (or Sherley) (September 1596 - October 1666) was an English poet and dramatist. His career of play writing extended from 1625 to the suppression of stage plays by Parliament in 1642. He belonged to the great period of English dramatic literature, but, in Lamb's words, he "claims a place among the worthies of this period, not so much for any transcendent genius in himself, as that he was the last of a great race, all of whom spoke nearly the same language and had a set of moral feelings and notions in common.""James Shirley", Encyclopædia Britannica Eleventh Edition, LoveToKnow Corp. Inc., Web, May 12, 2012. Life Shirley was born in London. He was educated at Merchant Taylors' School, London, St John's College, Oxford, and St Catharine's College, Cambridge, where he took his B.A. degree in or before 1618. His first poem, Echo, or the Unfortunate Lovers (of which no copy is known, but which is probably the same as Narcissus of 1646), was published in 1618. After earning his M.A., he was, Wood says, "a minister of God's word in or near St. Albans." Apparently in consequence of his conversion to the Roman Catholic faith, he left his living, and was master of St. Albans School from 1623 to 1625. His first play, Love Tricks, seems to have been written while he was teaching at St Albans. He removed in 1625 to London, where he lived in Gray's Inn, and for eighteen years from that time he was a prolific writer for the stage, producing more than thirty regular plays, tragedies, comedies, and tragicomedies, and showing no sign of exhaustion when a stop was put to his occupation by the Puritan edict of 1642. Most of his plays were performed by Queen Henrietta's Men, the playing company for which Shirley served as house dramatist, much as Shakespeare, Fletcher, and Massinger had done for the King's Men. Shirley's sympathies were with the King in his disputes with Parliament, and he received marks of special favor from the Queen. He made a bitter attack on William Prynne, who had attacked the stage in Histriomastix, and, when in 1634 a special masque was presented at Whitehall by the gentlemen of the Inns of Court as a practical reply to Prynne, Shirley supplied the text—''The Triumph of Peace.'' Between 1636 and 1640 Shirley went to Ireland, under the patronage apparently of the Earl of Kildare. Three or four of his plays were produced by his friend John Ogilby in Dublin in the theatre in Werburgh Street, the first ever built in Ireland and at the time of Shirley's visit only one year old. During his Dublin stay, Shirley wrote The Doubtful Heir, The Royal Master, The Constant Maid, and St. Patrick for Ireland.Adams, p. 419. In his absence from London, Queen Henrietta's Men sold off a dozen of his plays to the stationers, who published them in the late 1630s. Shirley, when he returned to London in 1640, would no longer work for the Queen Henrietta's company as a result; his final plays of his London career were acted by the King's Men. On the outbreak of the English Civil War he seems to have served with the Earl of Newcastle, but when the King's fortunes began to decline he returned to London. He owed something to the kindness of Thomas Stanley, but supported himself chiefly by teaching, publishing some educational works under the Commonwealth. Besides these he published during the period of dramatic eclipse four small volumes of poems and plays, in 1646, 1653, 1655, and 1659. He "was a drudge" for John Ogilby in his translations of the Iliad and the Odyssey, and survived into the reign of Charles II, but, though some of his comedies were revived, he did not again attempt to write for the stage. Wood says that he and his second wife died of fright and exposure after the Great Fire of London, and were buried at St. Giles in the Fields on 29 October 1666. Writing Shirley was born to great dramatic wealth, and he handled it freely. He constructed his own plots out of the abundance of materials that had been accumulated during thirty years of unexampled dramatic activity. He did not strain after novelty of situation or character, but worked with confident ease and buoyant copiousness on the familiar lines, contriving situations and exhibiting characters after types whose effectiveness on the stage had been proved by ample experience. He spoke the same language with the great dramatists, it is true, but this grand style is sometimes employed for the artificial elevation of commonplace thought. "Clear as day" becomes in this manner "day is not more conspicuous than this cunning"; while the proverb "Still waters run deep" is ennobled into – "The shallow rivers glide away with noise – The deep are silent." The violence and exaggeration of many of his contemporaries left him untouched. His scenes are ingeniously conceived, his characters boldly and clearly drawn; and he never falls beneath a high level of stage effect. Critical introduction by William Minto Shirley was essentially an imitative not an original genius. His claim to a place among the great poets of his age rests solely upon his wonderful manipulative dexterity, his power of assimilating and reshaping the creations of his great predecessors. Towards the close of a grand period, perhaps even while its leading spirits are in full creative swing, two distinct tendencies manifest themselves. Men of independent mind separate themselves from the main current, and cast about for fields which the masters have left unoccupied. Men of more pliant and docile intellect follow humbly in the footsteps of the masters, and seize freely upon the wealth which they have accumulated. Shirley belonged to the latter class. He did not try to invent new types, or to say what had not been said before; but stored his mind with the thoughts and the imagery of his predecessors, and reproduced them with joyous facility. We may admire the fluency, the elegance, and the force of Shirley’s verse, the ease and naturalness of his dramatic situations, but the attentive reader of his predecessors is never called upon to admire anything new. Fletcher was his chief model and exemplar, but he laid them all freely under contribution. The chief critical pleasure in reading him is the pleasure of memory.from William Minto, "Critical Introduction: James Shirley (1596–1666)," The English Poets: Selections with critical introductions (edited by Thomas Humphry Ward). New York & London: Macmillan, 1880-1918. Web, Apr. 11, 2016. Recognition His poems "A Hymn" and "Death the Leveller" were included in the Oxford Book of English Verse 1250-1900."A Hymn". Arthur Quiller-Couch, editor, Oxford Book of English Verse 1250-1900 (Oxford, UK: Clarendon, 1919). Bartleby.com, Web, May 12, 2012. "Death the Leveller". Arthur Quiller-Couch, editor, Oxford Book of English Verse 1250-1900 (Oxford, UK: Clarendon, 1919). Bartleby.com, Web, May 12, 2012. Publications Poetry *''Poems & c.'' London: Printed for Humphrey Moseley, 1646. *''Via ad Latinam linguam complanata; The Way Made Plaine to the Latine Tongue, the Rules Composed in English and Latine Verse''. London: Printed by R. W. for John Stephenson, 1649 **republished as Grammatica Anglo-Latina. An English and Latine Grammar. London: Printed for Richard Lowndes, 1651. * Rudiments of Grammar: The Rules Composed in English Verse for the Greater Benefit and Delight of Young Beginners. London: Printed by J. Macock for R. Lownds, 1656 **enlarged as Manductio; or, A Leading of Children by the Hand through the Principles of Grammar. London: Printed for Richard Lowndes, 1660 *''An Ode upon the Happy Return of King Charles II. To His Languishing Nations, May 29, 1660''. London, 1660. *''An Essay Towards an Universal and Rational Grammar; Together with Rules for Learning Latin, in English Verse'' (edited by Jenkin Thomas Philipps). London: Printed by J. Downing, 1726.. *''The Poems of James Shirley'' (edited by Ray Livingstone Armstrong). New York: King's Crown Press, 1941. w Plays *''The Wedding''. London: J. Okes for J. Grove, 1629. *''The Gratefull Servant: A comedie''. London: B. Alsop & T. Fawcet for J. Grove, 1630. *''The Schoole of Complement''. London: E. Allde for F. Constable, 1631 ** republished as Love Trics. London: Printed for R. T., sold by Thomas Dring, Jr., 1667. *''Changes: or, Love in a Maze: A comedie''. London:G. Purslowe for W. Cooke, 1632. *''A Contention for Honour and Riches''. London: E. Allde for W. Cooke, 1633. *''The Wittie Faire One: A comedie. London: B. Alsop & T. Fawcet for W. Cooke, 1633. *''The Bird in a Cage. A Comedie. London:B. Alsop & T. Fawcet for W. Cooke, 1633. *''The Triumph of Peace. A Masque''. London: J. Norton for W. Cooke, 1633. *''The Traytor. A Tragedie''. London: J. Norton for W. Cooke, 1635. *''Hide Park. A Comedie''. London: T. Cotes for A. Crooke & W. Cooke, 1637. *''The Lady of Pleasure. A Comedie''. London: Printed by T. Cotes for A. Crooke & W. Cooke, 1637. *''The Young Admirall''. London: T. Cotes for A. Crooke & W. Cooke, 1637. *''The Example''. London: J. Norton for A. Crooke & W. Cooke, 1637. *''The Gamester''. London: J. Norton for A. Crooke & W. Cooke, 1637. *''The Dukes Mistris''. London:J. Norton for A. Crooke, 1638. *''The Royall Master''. London:T. Cotes for J. Crooke & R. Serger, 1638. *''The Ball. A Comedie''. London: T. Cotes for A. Crooke & W. Cooke, 1639. *''The Tragedie of Chabot Admirall of France'' (by George Chapman, revised by Shirley). London: T. Cotes for A. Crooke & W. Cooke, 1639. *''The Maides Revenge. A Tragedy''. London: T. Cotes for W. Cooke, 1639. *''The Coronation: A Comedy''. London: T. Cotes for A. Crooke & W. Cooke, 1640. *''The Night-Walker; or, The Little Theife'' (by John Fletcher, revised by Shirley (London: T. Cotes for A. Crooke & W. Cooke, 1640. *''Loves Crueltie. A Tragedy''. London: T. Cotes for A. Crooke, 1640. *''The Opportunitie: A Comedy''. London: T. Cotes for A. Crooke & W. Cooke, 1640. *''The Humorous Courtier. A Comedy''. London: T. Cotes for W. Cooke, sold by J. Becket, 1640. *''A Pastorall Called The Arcadia''. London: J. Dawson for J. Williams & F. Eglesfeild, 1640. *''The Constant Maid. A Comedy'' London: J. Raworth for R. Whitaker, 1640; *also published as Love Will Finde Out the Way. London: Ja. Cottrel for Samuel Speed, 1661. *''St. Patrick for Ireland: The first part''. London: J. Raworth for R. Whitaker, 1640. *''Cupid and Death: A masque''. London: T.W. for J. Crook & J. Baker, 1653. *''Six New Playes, viz. The Brothers. The Sisters. The Doubtful Heir. The Imposture. The Cardinall. The Court Secret''. London: Humphrey Robinson & Humphrey Moseley, 1653. *''The Gentleman of Venice: A tragi-comedie''. London: Humphrey Moseley, 1655. *''The Polititian, A Tragedy''. London: Humphrey Moseley, 1655. *''No Wit, No Help Like a Woman's'' (by Thomas Middleton, possibly revised by Shirley). London: Humphrey Moseley, 1657. *''Honoria and Mammon ... Whereunto Is Added The Contention of Ajax and Ulisses, for the Armour of Achilles''. London: John Crook, 1659. .Except where noted, bibliographical information courtesy the Poetry Foundation.James Shirley 1596-1666, Poetry Foundation, Web, Dec. 4, 2012. Collected editions *''The Dramatic Works and Poems'' (edited by William Gifford & Alexander Dyce (6 volumes), London: John Murray, 1833). Volume I, Volume III, Volume IV, Volume V, Volume VI *''James Shirley'' (with introduction by Edmund Gosse). London: Vizetelly, 1888; London: T.F. Unwin / New York: Scribner, 1888. *A new 10-volume edition of James Shirley's work is currently being edited for Oxford University Press, OUP Complete Works of James Shirley, Centre for the Study of the Renaissance, Warwick Arts. Web, Feb. 10, 2016. Play productions *''Love Tricks (The School of Compliment). London, Phoenix theater, 1625. *''The Maid's Revenge. London, Phoenix theater, 1626. *''The Brothers'' (probably not the surviving play of the same name; possibly the same play as The Wedding). London, Phoenix theater(?), 1626. *''The Wedding''. London, Phoenix theater, 1626-1629. *''The Witty Fair One''. London, Phoenix theater, 1628. *''The Grateful Servant (The Faithful Servant). London, Phoenix theater, 1629. *''The Duke (possibly the same play as The Humorous Courtier). London, Phoenix theater, 1631. *''Love's Cruelty''. London, Phoenix theater, 1631. *''The Traitor'' London, Phoenix theater, 1631. *''The Ball'' London, Phoenix theater, 1632. *''Changes, or Love in a Maze''. London, Salisbury Court theater, 1632. *''Hyde Park''. London, Phoenix theater, 1632. *''The Arcadia''. London, Phoenix theater, 1632(?). *''The Bird in a Cage''. London, Phoenix theater, 1632-1633. *''A Contention for Honor and Riches'' (early version of Honoria and Mammon). privately performed (?), before 1633. *''The Gamester''. London, Phoenix theater, 1633. *''The Young Admiral''. London, Phoenix theater, 1633. *''The Night Walker'' (by John Fletcher, revised by Shirley). London, Phoenix theater, 1633. *''The Triumph of Peace''. Westminster, Whitehall Palace, 3 February 1634. *''The Example''. London, Phoenix theater, 1634. *''The Opportunity''. London, Phoenix theater, 1634. *''The Coronation'' London, Phoenix theater, 1635. *''The Tragedy of Chabot Admiral of France'' (by George Chapman, revised by Shirley). London, Phoenix theater, 1635. *''The Lady of Pleasure''. London, Phoenix theater, 1635. *''The Duke's Mistress''. London, Phoenix theater, 1636. *''The Royal Master'' Dublin, Werburgh Street theater, 1637; London, Salisbury Court theater(?), 1638. *''The Humorous Courtier'' (perhaps the same play as The Duke). Dublin, Werburgh Street theater, 1637-1639. *''The Constant Maid (Love Will Find Out the Way). Dublin, Werburgh Street theater(?), 1637-1640. *''St. Patrick for Ireland. Dublin, Werburgh Street theater, 1637-1640. *''The Doubtful Heir (Rosania, or Love's Victory). Dublin, Werburgh Street theater, 1638(?); London, Blackfriars theater, 1640. *''No Wit, No Help Like a Woman's (by Thomas Middleton, possibly revised by Shirley). Dublin, Werburgh Street theater, 1638. *''The Gentleman of Venice''. Dublin, Werburgh Street theater, 1639(?); London, Salisbury Court theater, 1639. *''The Politician''. Dublin, Werburgh Street theater, 1639(?); London, Salisbury Court theater, 1639(?). *''The Tragedy of St. Albans''. unknown theater, before 1640. *''The Imposture'' London, Blackfriars theater, 1640. *''The Brothers (The Politic Father). London, Blackfriars theater, 1641. *''The Cardinal. London, Blackfriars theater, 1641. *''The Sisters''. London, Blackfriars theater, 1642. *''The Court Secret''. London, Blackfriars theater, "never acted but prepared for the scene," 1642; eventually performed London, Theatre Royal, 1664. *''The Triumph of Beauty''. privately performed, before 1646. *''Cupid and Death''. unknown location, 26 March 1653. *''Honoria and Mammon''. possibly performed, before 1659. *''The Contention of Ajax and Ulysses for the Armor of Achilles''. privately performed (at Shirley's grammar school?), before 1659. Except where noted, information courtesy the Poetry Foundation. See also *List of British poets *List of English-language playwrights References *Adams, Joseph Quincy. Shakespeare's Playhouses. Boston, Houghton Mifflin, 1917. * Logan, Terence P., and Denzell S. Smith, eds. The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, NE, University of Nebraska Press, 1978. Notes External links ;Poems *Shirley in the Oxford Book of English Verse, 1250-1900: "A Hymn," "Death the Leveller". * Selected Poetry of James Shirley (1596-1666) ("Cease, Warring Thoughts," "The Glories of our Blood and State") at Representative Poetry Online. *Shirley in The English Poets: An anthology: [http://www.bartleby.com/337/447.html A Lullaby (from The Triumph of Beauty, a Masque)], [http://www.bartleby.com/337/448.html "The Garden" (from Poems)], [http://www.bartleby.com/337/449.html The Might of Death (from Cupid and Death, a Masque)], [http://www.bartleby.com/337/450.html A Dirge (from The Contention of Ajax and Ulysses)] * James Shirley at Poets' Corner * James Shirley at PoemHunter (17 poems) *James Shirley at Poetry Nook (55 poems) ;Books * *Dyce edition at Google Books ;Audio / video *James Shirley poems at YouTube ;About *James Shirley in the Encyclopædia Britannica * James Shirley at NNDB * James Shirley, Dramatist at Shirley Family Association. * James Shirley at Luminarium. * James Shirley in the Cambridge History of English and American Literature. * Original article is as "James Shirley". Category:1596 births Category:1666 deaths Category:Old Merchant Taylors Category:Alumni of St Catharine's College, Cambridge Category:English Renaissance dramatists Category:English dramatists and playwrights Category:17th-century poets Category:English poets Category:English-language poets Category:Poets